Museum studies sets us on track
I welcome the Museums Association's (MA) interest in the workforce and training (Museums Journal May 2006, p16) because there are important issues such as race, gender and disciplinary imbalance that need to be addressed and this can be best achieved as a centralised initiative, as with the highly successful Diversify Scheme.
However, I was extremely disappointed to see that such issues were buried within an article that appeared to be based on a limited understanding of the purpose of museum studies training, the graduate job market, professional career tracks, or the MA's history of achievement in this area.
Proper pre-entry training is critical to achieving professional standards and I believe this requires an approach that, for example, enables individuals to detect object deterioration, make judgements about issues of inclusion in a range of contexts, and lobby for appropriate support. Museums have become more complex organisations and course providers need to reflect this in their curricula fairly comprehensively.
But perhaps I am misjudging Maurice Davies' comments as his information seems to bear little relation to our experiences. For example, he says: 'It's becoming clear that too many people take museum studies masters courses each year.'
But on what evidence is this based? British universities are required to track the post-qualification employment record of students. These show that 90 per cent of 227 Leicester museum studies students graduating between 1997 and 2002 gained employment and almost every one in museums. More recent figures show no change.
Leicester students surveyed in the above period 'entered' in the equivalent of keeper/curator/education officer/marketing officer roles, or as assistant curators or museum assistants.
Davies implies that every job attracts a hundred applicants but this is not universally the case and nor can all the applicants be considered qualified. Attractive jobs in all sectors have always attracted large numbers of applicants, and traineeships with low qualification requirements will attract a large and rather 'over-qualified' field.
In-service traineeships are a useful means to address skills shortages or areas of under-representation, but they are not the best way to develop an effective workforce where the job market is already strong.
The MA needs to continue to tackle areas of under-representation and skills shortage. It also needs to work with museums to cultivate a profession that nurtures talent (including the induction of new recruits), encourages appropriate remuneration and facilitates career progression. And it needs to work with training providers to understand the nature and purposes of course content.
Simon Knell, director and head, department of museum studies, University of Leicester
In response to the letters about whether masters degrees are a waste of time (Museums Journal June 2006, p16), I'd say don't give up looking for work within the museum industry. It's always been hard finding jobs that any of us are qualified to do. You may not want to hear this, but it is about perseverance.
Please don't assume that those of us already working in museums had an easier time getting our first, or even second job. If you are applying for museum jobs within local authority-run museums, you must look very carefully at the person specification and make sure your application matches as close as possible; having a masters degree may be one of the criteria, but there are also other requirements that you will need to fulfil. It's how closely you match the person specification that you will be judged on, not your age, sex, class or colour.
Those of us who recruit and appoint would love to be able to offer unlimited apprenticeships, but our hands are tied. Nine out of ten posts advertised will have been hard fought for and the person specification and job description scrutinised umpteen times before being approved by personnel, who are not necessarily sympathetic to or understand the recruitment needs of the museum service.
Don't consider voluntary work a waste of time, because the skills you pick up will be crucial. If you don't feel that the tasks you're being given will help towards a future permanent job, speak to your supervisor.
And yes it is still possible to be appointed to a museum job without having postgraduate museum qualifications. More often than not it really is a case of being in the right place at the right time.
Ann Wise, Warner textile development and licensing manager, Warner Archive
When do I pass the 'entry-level' bracket?
I got a bit of a shock reading through the newly published Museums Association (MA) research into Pay in Museums. There on page 7 was my job description and salary scale being compared with that of a starting teacher or lecturer.
What I found particularly disturbing is not the salary scale (museum jobs being badly paid is not a revelation to anyone working in the industry), but to see my job described as 'entry-level' was really galling.
I have five years of experience in a subject-relevant national museum, as well as a recent museum studies MA and project management experience, yet my job is still described as 'entry-level'. I could cry.
What your research does not reflect is the high levels of well qualified and experienced professionals competing for the same jobs - even lowly 'entry-level' jobs - while there seems to be a demand for teachers across the country.
I am somewhat resigned to being underpaid for the level of qualifications and experience required by the sector and yet I returned to the museum profession, despite being able to earn more elsewhere, because this is the work that gives me the most job satisfaction.
I was once told at a job interview by a senior curator that she could only afford to work in museums because her husband earns a good salary. A sad state of affairs indeed. Perhaps we should all be museum studies lecturers instead.
Meredith Greiling, Aberdeen Built Ships project officer, Aberdeen Maritime Museum
Let's build on the success of MGM
Thank you for your coverage of Museums and Galleries Month (MGM) and in particular highlighting the consultation period over the coming months to review this year's programme and consider next year's approach. We want feedback from the sector (Museums Journal June 2006, p4).
As this is an initiative that is organised by the sector, it is important that we build on experience and success to date. At present, MGM is enjoying more stable funding than previously was the case, with support from the Museums, Libraries and Archives Council, Renaissance in the Regions, and Arts Council England, and there is real potential and capacity to consolidate and develop the work done to date at national and regional levels.
The MGM working group and strategy groups, which comprise representatives from across the sector in Wales, Northern Ireland and England, will be looking at all aspects of the event, so everyone who has been involved this year needs to make their views known via the evaluation forms that have already been circulated and, where appropriate, by attending the seminar in September. We need to work together to ensure that this event raises the profile of the sector.
Virginia Tandy, director, Manchester City Galleries, co-chair, Museums and Galleries Month
I am a member of the MGM working group and MGM strategy group and was very interested to read your recent editorial about the event.
All the museums and galleries taking part in MGM are asked for their comments when it's over. This is part of the evaluation and consultation on the format and duration of future events. In light of these findings, it was decided to run MGM from 29 April to 4 June this year. This included two bank holiday weekends, and half-term holidays.
Giving everyone more flexibility for dates and suggesting themes, but not making them mandatory, makes it easier for more museums and galleries to join in. This year was bigger and better than before with more than 2,000 events.
I was pleased that you encouraged everyone to have their say about MGM. But I think it would have been more helpful if Museums Journal had waited until the evaluation of MGM 2006 was complete before publishing detailed comments.
Elizabeth Mackenzie, Bristol
Environment needs to be a priority
I am concerned about the lack of climate change exhibitions within museums. Environmental issues, especially global warming, are currently high on the political agenda. However, this debate is being overlooked by museums.
The complexity of the concepts is a major barrier when attempting to communicate climate change. An interdisciplinary re-evaluation of museum collections is required. Displaying climate change provides an opportunity to work with a diverse range of institutions.
A variety of communication approaches is needed to overcome our growing scientific illiteracy, which is removing our ability to criticise complex environmental policy. Exhibitions can place climate change in a local context and demonstrate how individual changes can make a big difference.
The concepts outlined are the basis of the dissertation for my MA. If any readers are, or have been, involved with an exhibition about climate change could you email me information about the objects used and the problems faced.
Matthew Cowpe, Newcastle-upon-Tyne
I welcome the Museums Association's (MA) interest in the workforce and training (Museums Journal May 2006, p16) because there are important issues such as race, gender and disciplinary imbalance that need to be addressed and this can be best achieved as a centralised initiative, as with the highly successful Diversify Scheme.
However, I was extremely disappointed to see that such issues were buried within an article that appeared to be based on a limited understanding of the purpose of museum studies training, the graduate job market, professional career tracks, or the MA's history of achievement in this area.
Proper pre-entry training is critical to achieving professional standards and I believe this requires an approach that, for example, enables individuals to detect object deterioration, make judgements about issues of inclusion in a range of contexts, and lobby for appropriate support. Museums have become more complex organisations and course providers need to reflect this in their curricula fairly comprehensively.
But perhaps I am misjudging Maurice Davies' comments as his information seems to bear little relation to our experiences. For example, he says: 'It's becoming clear that too many people take museum studies masters courses each year.'
But on what evidence is this based? British universities are required to track the post-qualification employment record of students. These show that 90 per cent of 227 Leicester museum studies students graduating between 1997 and 2002 gained employment and almost every one in museums. More recent figures show no change.
Leicester students surveyed in the above period 'entered' in the equivalent of keeper/curator/education officer/marketing officer roles, or as assistant curators or museum assistants.
Davies implies that every job attracts a hundred applicants but this is not universally the case and nor can all the applicants be considered qualified. Attractive jobs in all sectors have always attracted large numbers of applicants, and traineeships with low qualification requirements will attract a large and rather 'over-qualified' field.
In-service traineeships are a useful means to address skills shortages or areas of under-representation, but they are not the best way to develop an effective workforce where the job market is already strong.
The MA needs to continue to tackle areas of under-representation and skills shortage. It also needs to work with museums to cultivate a profession that nurtures talent (including the induction of new recruits), encourages appropriate remuneration and facilitates career progression. And it needs to work with training providers to understand the nature and purposes of course content.
Simon Knell, director and head, department of museum studies, University of Leicester
In response to the letters about whether masters degrees are a waste of time (Museums Journal June 2006, p16), I'd say don't give up looking for work within the museum industry. It's always been hard finding jobs that any of us are qualified to do. You may not want to hear this, but it is about perseverance.
Please don't assume that those of us already working in museums had an easier time getting our first, or even second job. If you are applying for museum jobs within local authority-run museums, you must look very carefully at the person specification and make sure your application matches as close as possible; having a masters degree may be one of the criteria, but there are also other requirements that you will need to fulfil. It's how closely you match the person specification that you will be judged on, not your age, sex, class or colour.
Those of us who recruit and appoint would love to be able to offer unlimited apprenticeships, but our hands are tied. Nine out of ten posts advertised will have been hard fought for and the person specification and job description scrutinised umpteen times before being approved by personnel, who are not necessarily sympathetic to or understand the recruitment needs of the museum service.
Don't consider voluntary work a waste of time, because the skills you pick up will be crucial. If you don't feel that the tasks you're being given will help towards a future permanent job, speak to your supervisor.
And yes it is still possible to be appointed to a museum job without having postgraduate museum qualifications. More often than not it really is a case of being in the right place at the right time.
Ann Wise, Warner textile development and licensing manager, Warner Archive
When do I pass the 'entry-level' bracket?
I got a bit of a shock reading through the newly published Museums Association (MA) research into Pay in Museums. There on page 7 was my job description and salary scale being compared with that of a starting teacher or lecturer.
What I found particularly disturbing is not the salary scale (museum jobs being badly paid is not a revelation to anyone working in the industry), but to see my job described as 'entry-level' was really galling.
I have five years of experience in a subject-relevant national museum, as well as a recent museum studies MA and project management experience, yet my job is still described as 'entry-level'. I could cry.
What your research does not reflect is the high levels of well qualified and experienced professionals competing for the same jobs - even lowly 'entry-level' jobs - while there seems to be a demand for teachers across the country.
I am somewhat resigned to being underpaid for the level of qualifications and experience required by the sector and yet I returned to the museum profession, despite being able to earn more elsewhere, because this is the work that gives me the most job satisfaction.
I was once told at a job interview by a senior curator that she could only afford to work in museums because her husband earns a good salary. A sad state of affairs indeed. Perhaps we should all be museum studies lecturers instead.
Meredith Greiling, Aberdeen Built Ships project officer, Aberdeen Maritime Museum
Let's build on the success of MGM
Thank you for your coverage of Museums and Galleries Month (MGM) and in particular highlighting the consultation period over the coming months to review this year's programme and consider next year's approach. We want feedback from the sector (Museums Journal June 2006, p4).
As this is an initiative that is organised by the sector, it is important that we build on experience and success to date. At present, MGM is enjoying more stable funding than previously was the case, with support from the Museums, Libraries and Archives Council, Renaissance in the Regions, and Arts Council England, and there is real potential and capacity to consolidate and develop the work done to date at national and regional levels.
The MGM working group and strategy groups, which comprise representatives from across the sector in Wales, Northern Ireland and England, will be looking at all aspects of the event, so everyone who has been involved this year needs to make their views known via the evaluation forms that have already been circulated and, where appropriate, by attending the seminar in September. We need to work together to ensure that this event raises the profile of the sector.
Virginia Tandy, director, Manchester City Galleries, co-chair, Museums and Galleries Month
I am a member of the MGM working group and MGM strategy group and was very interested to read your recent editorial about the event.
All the museums and galleries taking part in MGM are asked for their comments when it's over. This is part of the evaluation and consultation on the format and duration of future events. In light of these findings, it was decided to run MGM from 29 April to 4 June this year. This included two bank holiday weekends, and half-term holidays.
Giving everyone more flexibility for dates and suggesting themes, but not making them mandatory, makes it easier for more museums and galleries to join in. This year was bigger and better than before with more than 2,000 events.
I was pleased that you encouraged everyone to have their say about MGM. But I think it would have been more helpful if Museums Journal had waited until the evaluation of MGM 2006 was complete before publishing detailed comments.
Elizabeth Mackenzie, Bristol
Environment needs to be a priority
I am concerned about the lack of climate change exhibitions within museums. Environmental issues, especially global warming, are currently high on the political agenda. However, this debate is being overlooked by museums.
The complexity of the concepts is a major barrier when attempting to communicate climate change. An interdisciplinary re-evaluation of museum collections is required. Displaying climate change provides an opportunity to work with a diverse range of institutions.
A variety of communication approaches is needed to overcome our growing scientific illiteracy, which is removing our ability to criticise complex environmental policy. Exhibitions can place climate change in a local context and demonstrate how individual changes can make a big difference.
The concepts outlined are the basis of the dissertation for my MA. If any readers are, or have been, involved with an exhibition about climate change could you email me information about the objects used and the problems faced.
Matthew Cowpe, Newcastle-upon-Tyne
